Fuchsia

ImagineFX: Sci-fi & Fantasy Art magazine - - Master Art -

wanted to be this guy who talked bad to women. The vi­o­lent guy… My mother wanted me to earn some real money. So I be­came a lawyer.”

Hav­ing lost his job as a lawyer, he turned to teach­ing law for a year, bank­ing enough cash to make a proper go at art. He used his sav­ings to prac­tise us­ing Pho­to­shop, 3ds Max and Flash. “I learned how to script in Flash. It was very trendy 10 years ago. I did web­sites in Flash an­i­ma­tion, Flash script­ing and sent it to a big com­pany. I was hired two days af­ter.”

An early love of car­i­ca­tures

Tal­ented as he is, Serge didn’t pick up Flash and mirac­u­lously start bang­ing out an­i­ma­tion off the bat. He’s been into art since his mum bought him Jean Mu­latier’s book of car­i­ca­tures when he was eight. “I met Jean a few years ago. Ev­ery time I went to Paris I saw him. He vis­ited ev­ery ex­hi­bi­tion I did and was the kind­est per­son in the uni­verse, cu­ri­ous about ev­ery­thing.”

A few years af­ter Jean’s book came Ha­jime So­rayama. “He’s the most im­por­tant guy in my devel­op­ment. When I saw his work I said, ‘Okay, I want to learn how to do that. Even if I need 20 years, I’m go­ing to learn how to make an air­brush cre­ate those shiny things’.”

Dean Yea­gle, Play­boy art direc­tor and cre­ator of the ditzy blonde pin-up char­ac­ter Mandy, was an­other in­flu­ence. “He be­came the first guy to re­ally aid me, help me in my ca­reer. He tried to find me con­tacts at Play­boy in the US. He said, ‘If you need some­thing, I’ll al­ways be there.’ He did the fore­word for my art book, Cor­pus Delicti.”

Aside from work­ing in games, Serge has made a bustling side-line in teach­ing. This im­age means a lot to Serge – but he won’t say why… “This was the first time I painted Fuchsia, one of my favourite mod­els. I saw some of her pho­tos on de­viantART for the first time and I re­ally liked the fact she didn’t look like the mod­els we’re used to see­ing on the in­ter­net. Her face is unique and dif­fi­cult to draw. I did a lot of pic­tures of her af­ter this one.

“The mean­ing of this pic­ture isn’t very clear and I don’t re­ally want to ex­plain it. It’s a very per­sonal im­age. I tried to work like I used to do with my old tra­di­tional air­brush and once again I was in­flu­enced by my mas­ter, Ha­jime So­rayama. It fea­tures a lot of dif­fer­ent re­flec­tive ma­te­ri­als – it was quite chal­leng­ing. The pig wasn’t easy, ei­ther.

“I think I spent over 60 hours on the paint­ing. But I’m still re­ally happy with this one. It’s not per­fect and I can see a lot of mis­takes now. But this pic­ture is like an old friend to me.”

Even if it takes me 20 years, I’m go­ing to learn how to cre­ate those shiny things

Serge’s art book has this im­age of his wife Chloe on the cover, get­ting to grips with an octo-pal. This, be­lieve it or not, was a “soft light test”, done in Serge’s soft­ware of choice, Pho­to­shop, back in 2013.

Right, a paint­ing for Serge’s ex­hi­bi­tion that trav­elled from Paris to Mon­treal. The model is pin-up artist Maly Siri.

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